There’s a significant difference between Mark Lanegan’s solo albums and Mark Lanegan Band albums. Mark Lanegan’s albums, which go all the way back to 1990’s Winding Sheet, are the folkier ones, with his Jim Morrison-meets-Tom Waits croon surrounded by more organic instrumentation. He brings the same vocal tools to the Mark Lanegan Band’s albums, however, the music behind him is built around programmed electronics. Luckily, his idea of an electronic sound isn’t sleek. The kind of beats he uses sound like an alternate timeline where he spent the back half of the ’80s fronting a New Order / JAMC / Bunnymen type of band, instead of Seattle neo-psychedelic hard rockers The Screaming Trees.
Gargoyle is his fourth Mark Lanegan Band album and it picks up pretty much exactly where 2014’s Phantom Radio left off. The lack of progression may be off-putting for some, but Phantom Radio was my favorite album of that year, so I’m perfectly thrilled to hear more of the same on Gargoyle. The man affectionately known among fans as “Dark Mark” and his rotating cast of supporting musicians (including past collaborators Alain Johannes, Greg Dulli and Josh Homme, among others) are right in their narco-gothic wheelhouse with the opening duo of “Death’s Head Tattoo” and “Nocturne”, even if the song’s titles sound like they were made by a Mark Lanegan Song Title Generator. “Emperor” and “Beehive” are great upbeat songs, though the former closely resembles “The Passenger” and the latter sounds like a lost alternative rock radio hit from 1987, with a decent amount of its sound and style nicked (tastefully) from Echo and The Bunnymen’s “Lips Like Sugar” and The Jesus and Mary Chain’s “Sidewalking”. Lanegan puts together good slow-burning songs too, bringing the tempo down on “Sister”, “Goodbye To Beauty” and “First Day of Winter”. Those with a keen ear with notice that “Sister” lovingly recreates the harmonies from Wire’s “A Mutual Friend” towards the fade-out.
Despite personnel and influences changing from song to song Gargoyle is a very cohesive listening experience. It’s Mark unique vocal register and lyrical approach that tie it all together perfectly, and as of right now (May 19th), it’s the best new album I’ve heard in 2017.